Flamenco is a structured music with many genres and styles. But - the mechanisms can be learned. With the didactic software of the award-winning flamenco author Gerhard Graf-Martinez, the flamenco rhythms can be practiced to the guitar, or with hand clapping (palmas).
System requirements: Mac: min. G5; OS 10.4 or higher. Please try the demo version before buying.
Does not run on Mac OSX 10.15 (Catalina) and higher. EOL (EndOfLife) Nov. 2020. Please order FlamencoReloj as a replacement.
Try before buy!
Flamenco Metronom Graf-Martinez für Mac - Demo (4.4 MB)
Gatekeeper in OSX: Only apps from the App Store, or that have a certificate issued by Apple, are executed on the Mac. For this certificate, the developer must pay an annual fee to Apple, which is not worth it for small runs. - This is also the case with my FlamencoMetronome. I sell this software since 1999 without any problems, i.e. it is neither spamware, nor malware.
You can still install the try-out, or the original app: Right-click on the app icon and to start the program. For details, please refer to the Apple page.
Flametro 2.1 - iPhone †
EOL Feb. 2014 - development discontinued
Flametro 2.1 - iPad †
EOL Feb. 2014 - development discontinued
Using the Flamenco Clock (Reloj Flamenco)
The Flamenco-clock (reloj flamenco) has been used for a long time to help explain the idea of compás, which is the rhythmical cycle of a certain number of beats and accent patterns that underlies the forms of Flamenco.
Seeing the compás presented as a Flamenco-clock helps to reveal more clearly the shared relationship between the main styles of flamenco : Soleá, Alegrías, Bulerías, Siguiriyas, Fandango de Huelva. All of these styles are based on the same 12 beat cycle (Compás), but each style has a different way of counting the compás, which is quite correct and meaningful. The most important thing to know is, from what number to start to count the twelve beats. The main options are starting on beat 1 or 8 or 12.
This means, that when you use the Flamenco-clock you do not change the accents during the twelve-beat cycle, but you change from where you start to count the cycle.
The use of the metronome not only explains the theory of the different rhythms, but is designed as a practical tool to a help musicians and dancers to practice and gain control of the flamenco compás, while playing difficult falsetas or training complicated dance routines.
To work really effectively with the Flamenco metronome you should study the following examples and different ways of counting.
Start counting on "1"
Soleá and derivations (Caña, Polo, Policaña, Soleá por Bulerías) Alegrías and derivations (Cantiñas, Mirabrás, Romeras, Caracoles) .
Start counting on "12"
Bulerías (Jaleo). (Bulerías falsetas are often played only in the mode of 2/4 or 3/4). Bulerías, Guajiras, Peteneras und Fandangos de Huelva (Estribillo)* don't really have anything stylistically in common except they all start counting at "12".
Start counting on "8"
Siguiriyas and her related styles (Cabales, Livianas, Serranas, Martinete) start at "8".
For all styles in the 3/4 beat, that don´t change the accents, like Sevillanas, Verdiales, Jaberas, Fandanguillos (Copla)*, Rondeña - but not the "Rondeña toque" (libre) - you may use the mode of "3".
For other styles in the 4/4 or the 2/4 beat, for example the Tangos (and related styles like Tientos, Tanguillos, - also Farruca), Garrotin, Taranto; as well as all those styles influenced by the music of South America, which are called "Estilos de ida y vuelta" (Rumba, Colombianas, Milonga) you may use the mode of "4" or "2", which is equivalent to using a usual (normal) metronome.
* Fandangos de Huelva: Count in 3 or 6 beat mode. In the Estribillo it's better to use the 12 mode. Many use the following foot steps:
12 - 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 or
12 - 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11
Comments from users and customers of the Flamenco Metronome around the world.
Performed songs that were written by his pen is almost endless: Ana Belén, Camarón de la Isla, Clara Montes, Dieguito 'El Cigala', El Ecijano, Lolita, Los del Río, María José Santiago, María Vargas, Massiel, Niña Pastori, Paco de Lucía, Paloma San Basilio, Pata Negra, Tijeritas ... As a producer, he is responsible for Niña Pastori's career. He has also been behind some records by Diego El Cigala, Guadalberto, Susana Verdú, Ricardo Miño, Los del Río...
Professor (Flamenco and Mathematik)
School of Computer Science and Centre for Interdisciplinary Research in Music Media and Technology - The Schulich School of Music - McGill University Montreal, Canada
Salud y bienestar son nuestros destinos genéticos. Tenemos la sabiduría necesaria para cambiar Cuerpo y Mente forman una unidad integrada y se afectan mutuamente.
© Copyright 1995 - 2022 · Gerhard Graf-Martinez